NYC Culture Just Got Hotter: Launch of Tattoo Photo Book & Art Show By Former BlackBook Editor

I guess I have to come back. Paradise is where you make it, but I have gotten used to the sand, surf, and sun, and the generally slow pace of this wonderful island. Alas, I will walk among you tomorrow morning. There are two events of interest: Tomorrow, Saatchi & Saatchi are hosting a soiree from 6pm to 10pm for the launch of photography book Generation Ink: Williamsburg, featuring photos of 20-somethings and their tattoos by Paul Nathan. The Dough Rollers are performing, and my gang from Magic Cobra Tattoo Society will be doing what they usually do on Driggs and S. 3rd. Sailor Jerry Rum will provide the courage. It’s kind of ironic that this event is taking place in Manhattan, 375 Hudson St. Manhattan is that place where cool kids slum. Paul Nathan will be taking a portrait of people who buy his book at the event.

Tonight is the opening reception for art exhibit “Bad w/$”  at 443 PAS (443 Park Avenue South). The hubbub is about a solo show of work by Fernando Cwilich Gil that “continues his longstanding exploration of wealth and poverty through painting, design, and media." The show will run until New Year’s Day. Tonight’s opening reception will run from 6pm to 8pm. Gil was the dude who brought me to BlackBook, so you can blame him. Since I am traveling I’m just going to paste the show’s one-sheet onto my column and go back to the beach.

…Gil is the owner of Buenos Aires-based Liquid Assets Paint & Pigment Company, a functional/conceptual company established in 1997 that manufactures and sells artist paint made from 100% pure currency pigment ( In 2012, Gil began working with neuroscientists from the Universidad de Buenos Aires to measure cognitive visual capacity in a dynamic online environment. A beta version of the project can be found Both of the above projects will be featured in Bad w/$, along with traditional paintings.

Gil (b. 1977 in Argentina) lives and works in Buenos Aires and Rio de Janeiro) In 2002 he conceived and co-founded ProyectArte, a Buenos Aires-based nonprofit that provides fine art training to poor young people in South America. He is the founder of the Prima Gallery in Buenos Aires. His work has been show extensively in the Americas and Europe, where he has also left his mark in the more traditional media world as an editor and creative director for print, broadcast and online media for clients such as Adidas, Heineken, Nike, LVMH, and others. He has also served as editor of BlackBook and as a reporter for the New York Post, and has written for many other media.

This Week, Antony Hegarty’s Solo Art Exhibition Beckons

Antony Hegarty is best known for—well, hold on a second. There’s his flat-out incredible and hauntingly fragile falsetto, deployed to great effect on albums like I Am a Bird Now andThe Crying Light. Then there’s his transgender identity, plus other attachments to a faded, androgynous and gritty version of the Lower East Side (Lou Reed guest spots, those stylized cover photos, etc.). So perhaps its not surprising that last year, he crashed the visual art world with a solo show at UCLA’s Hammer Museum. Now he’s bringing work to New York, at Sikkema Jenkins in Chelsea.

Actually, he’s been making art for much longer than that, debuting curious artifacts quietly for the past few years. And like the multidisciplinary weirdos of the 1970s and 80s who are so clearly his heroes, Antony seems discontent not only to be limited to a single medium, but with the individual limitations of each medium. Which means visitors to the show – opening Friday, May 31, with a 6pm reception, and running through July 12 – can expect to see drawings alongside collage and sculpture.

While his paintings and cut-and-paste offerings do begin to get at the ethereal, barely-there quality of his quieter songs, I think it’s really his methodical and monochromatic drawings that catch the eye. Sometimes he even applies ink to photographs, doodling out the geometry that underlies the image. Anyway, it’s refreshing to browse pieces by someone who has no real stake in art world politics and nothing to say about them: here is a chance to feel vivid individual expression in the form of a clean, unhurried line. Don’t miss it! 

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